Theatre Design & Technology - May 1971 - 7

Dallas's KalitaHumphreys Theatre, designed
by Frank Lloyd Wright and opened early
in 1960.

In his promotion piece for the
building's never-completed Hartford
version, Wright assured the potential
backer that, "The Building, itself an
automatic machine rivalling in plasticity the cinema, will be a sanctuary
for emotion and aspi ration." As realized in Dallas, the theatre is about as
un-automatic, un-mechanical as a theatre can be. Some technical functions
appear to happen almost in spite of
the building.

THE KALITA
THEATER

HUMPHREY)

.

-

During myvisittwo rehearsal rooms
were being added in a project directed
by William Wesley Peters of Taliesen

West's Frank L1oydWrightAssociates.
With Mrs. Becky Logan of the theatre's staff, I made the full stem-tostern tour. Most of the small complaints I'd heard were confirmed: you
do see into the grid from downstage
seats; the offstage spiral ramps never
would have worked as Wright intended; things are terribly cramped
backstage, in spite of concessions in
the original plan to the realities of
production; and the auditorium wall
surfaces do reflect a lot of usually unwanted Iight from the stage area during the show. (I am told these have
since been painted brown.)

~

MAY, 1971

of Hartford theatre people, too. Paul
Baker says Wright actually conceived
the plan in 1915.
For those who want to reread, the
following articles will help: Architectural Record (May 1958), (March
1960); Progressive Architecture (December 1959); Casabella (Milan) (No.
239, 1960); Architectural Forum
(March 1960); Architektur UndWohnform (Heft 3, 1960); and RibaJournal
(London) (May 1963).

THEATER DESIGN AND TECHNOLOGY

Actress Helen Marie Taylor once
assured an AETA convention audience
that the Kalita Humphreys failed as a
building on the grounds thatshestumbled on a backstage stairway, and that
Wright had been oblivious to the
dressing room requirements of the
mature actress. Indeed the dressing
room and toi let stall-counting school
of theatre critics in this country has
widely condemned Wright's Dallas
building for the concrete artist's ego
trip it most certainly is. Unfortunately,
I think they have failed to evaluate the
building first from the spectator's viewpoint. For, considered as a very unique
artistic experience in space and time,
from ticket purchase to departure at
eleven, the Dallas Theatre Center is
a smashingly theatrical success. Even
the hokum-loaded melodrama Rags to
Riches, seen with a subscription audience, was a rare evening's theatre for
me, and I long to see some solid
fare there.
In the decade of shake-down since
its opening, a few small alterations
have been made to Wright's original
Dallas plan. A small experimental
theatre downstairs has proven very
successful.
Along the rear auditorium wall is a
final row of seats designed for basketball centers. The rest of us would
have had to sit with our feet dangling
one to three inches above the floor,
if a raised foot-rest had not been provided. Above th ese, th ere is a
clerestory-like band of windows, each
with its fairly light-tight hinged lid.
The detailing throughout all the audi-

7



Table of Contents for the Digital Edition of Theatre Design & Technology - May 1971

Contents
Theatre Design & Technology - May 1971 - 1
Theatre Design & Technology - May 1971 - 2
Theatre Design & Technology - May 1971 - 3
Theatre Design & Technology - May 1971 - Contents
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